Alle Beiträge von Thomas Oberender
Thema
Auszug aus „Gaia-Theater“
von Thomas Oberender
Das erste Theaterstück, in dem keine menschlichen Darsteller auftraten, sah ich im Juli 2010 beim Sommerszene-Festival in Salzburg. In der Abenddämmerung lief ich in einer Besuchergruppe der Aufführung „The Light Forrest“ von Mette Ingvartsen den zentrumsnah gelegenen Kapuzinerberg hinauf. Er ist bekannt für sein Kloster, die Stefan-Zweig-Villa, das Ausflugslokal auf der Bergkuppe und die Relikte alter Wehrmauern, in deren Türmchen heute Obdachlose kampieren. Obgleich dicht am Zentrum gelegen,…mehr
aus der Zeitschrift: Theater der Zeit 12/2022
Kunstinsert
Über „Hedda Gabler“ von Vegard Vinge und Ida Müller am Norske Teatret Oslo
von Thomas Oberender
Der Besuch der Aufführung von „Hedda Gabler“ begann im Foyer des Theaters mit einer Ausstellung. Sie zeigte auf Stellwänden unmittelbar vor den Türen zum Saal acht übergroße Zeichnungen, freie Versionen klassischer Filmplakate, darunter mehrere Plakate der „Rambo“-Serie, „Rocky“, „Top Gun“, „Alien“, „Attack on the 50 ft. Woman“, „Pulp Fiction“ oder „81/2“. Vegard Vinges mit Edding-Stiften gemalte Plakate wirken naiv und brachial und zeigen Schauspielerikonen des Mainstream-Kinos, die Inbilder…mehr
aus der Zeitschrift: Theater der Zeit 9/2022
Theatre, Climate and a Shift in Awareness
von Frédérique Aït-Touati, Bruno Latour und Thomas Oberender
Thomas Oberender: For us, Down to Earth is a “little organum” in the Brechtian sense—a practical tool, a guide for behavioural change. This comes very close to our intentions regarding the exhibition of the same name in Gropius Bau. Considering our collaboration, I am very interested in your and Frédérique’s fascination with theatre. In your book, you keep speaking in theatre metaphors. You write: “Today, the decor, the wings, the background, the whole building have come on stage and are…mehr
aus dem Buch: CHANGES (English edition)
Lessons from the Sustainability Project “Down to Earth”
von Thomas Oberender
Our sustainability project “Down to Earth” took place within a larger programme series that began in 2015 and since then has been devoted to the phenomenon of immersion—a word that has no true equivalent in German and was previously very rarely used. A little of the hype around this term in this country has also been caused by us and this programme series. But also, of course, because so many changes were in the air and could be explained well by this term. For us, from the beginning the theme…mehr
aus dem Buch: CHANGES (English edition)
Infinite Music
von Brian Eno und Thomas Oberender
Thomas Oberender: One consistent aspect of your work is the shift from an object-based understanding of art to a more process-oriented interest in art. And this shift changes a lot: it affects both production methods and presentation styles and alters our understanding of what the artwork actually is. It opens the experience of art a lot more towards the agency of the audience. Works of art are no longer regarded as finished products, but rather situations in a constant state of flux.…mehr
aus dem Buch: CHANGES (English edition)
Worlds Without Exteriors. Immersion 2016–2021
von Thomas Oberender und Nancy Pettinicchio
Nancy Pettinicchio: I wonder if you could describe the space you’re currently sitting in.
Thomas Oberender: At the moment I’m working from home, in an untidy workroom that you can’t see because of my virtual background. What you can see is some wallpaper that was designed by David Bowie.
NP: Do you usually work from home now?
TO: For the last year and a half, yes. But we’ve also put on exhibitions since the regulations were relaxed a little.
NP: The situation is the same in Canada. Most…mehr
aus dem Buch: CHANGES (English edition)
“I Wanted to Change the Image”
von Thomas Oberender und Gabriele Stötzer
Thomas Oberender: Gabriele Stötzer is a writer, artist and activist. She was born in a village near Erfurt [Thuringia, then in East Germany], began vocational training as a medical lab technician, later did her school-leaving certificate and studied German and art education at the Pädagogische Hochschule. In 1976, her last year of studies, she and two other students were expelled from the university on political grounds because of a solidarity campaign for a fellow student, and that same year…mehr
aus dem Buch: CHANGES (English edition)
Five Areas of Identity Politics in Ten Years of Festival Programming
von Thomas Oberender
Looking back at the programme of Berliner Festspiele between 2012 and 2021, “long-term themes” emerge across the years in numerous performances, exhibitions and discursive events that constitute a kind of continuous debate. In addition to issues like sustainability, the relationship of work to form or of East to West Germany thirty years after reunification, identity politics is also an instructive filter for forming a better understanding of the changes in the profile of events over the last…mehr
aus dem Buch: CHANGES (English edition)
von Thomas Oberender
In his book Kultur der Digitalität (published in English under the title: The Digital Condition), Felix Stalder describes how shortly after Conchita Wurst won the Eurovision Song Contest, Facebook increased the number of gender identity options its users were able to choose between from two to 60. For Felix Stalder, it is not the apparently immaterial nature of the datasphere nor the perfection or virtuality of its products that characterises digital culture, but rather its vast multiplication…mehr
aus dem Buch: CHANGES (English edition)
The Planetarium as a Gallery of the Future
von Thomas Oberender
There are few places as immersive as planetariums. A simple star projection alone can make the construction of the theatre, with its walls and devices, seem to disappear. It replaces the space in which the guests are seated with another, a cosmic space. In this setting, the planetarium audience is in two spaces at the same time—a physical one and an imaginary one. Planetariums are exemplary places for a reality substitution—the physical world slides almost imperceptibly into a virtual one,…mehr
aus dem Buch: CHANGES (English edition)
The Exhibition as a Film Without a Camera
von Emanuele Coccia, Thomas Oberender und Philippe Parreno
Thomas Oberender: Philippe Parreno is the artist whose exhibition is currently on view in the atrium and the ground floor of the Gropius Bau. Emanuele Coccia is a philosopher and professor based in Paris and the author of The Life of Plants: A Metaphysics of Mixture (2018). When Philippe approached me with Coccia’s books, I was particularly fascinated by Goods: Advertising, Urban Space and the Moral Law of the Image (2018). This short book offers an unusual perspective on capitalism, and…mehr
aus dem Buch: CHANGES (English edition)
von Thomas Oberender
To experience art is usually to experience an encounter with works. But often we do not encounter the works directly, but rather mediated by formats. As a form of organisation, formats mediate works—whether exhibitions or performances—as a means of transmission. Formats are always containers for diverse works, and the sum of the different formats results in a programme. A structure becomes a format when it accommodates different works, either in combination or successively. Formats therefore…mehr
aus dem Buch: CHANGES (English edition)
von Thomas Oberender
This book is an attempt to pass on inspiration. It has emerged from the activities of a cultural institution that comprises all genres of contemporary art. And at the same time, this book is an attempt to transcend these last ten years of activities and to distil from them a few key thoughts and documents that highlight the most significant changes we have undergone during this period.
On the one hand, this Changes volume documents conversations with artists and intellectuals that, in the…mehr
aus dem Buch: CHANGES (English edition)
Zwei Gespräche über Es ist zu spät …
von Thomas Oberender und Arne Vogelgesang
Arne Vogelgesang beschäftigt sich in vielen seiner Arbeiten mit der Marktlogik der sozialen Netzwerke und Plattformen. In seinem Projekt Es ist zu spät, das 2019 für das Monologfestival am Theaterdiscounter entstand und in dem er die Rolle eines Influencers annimmt, verbindet Vogelgesang das Interesse am Plattformkapitalismus mit den sozialen und ökologischen Krisen unserer Gegenwart. In einem rant-artigen Parforceritt konfrontiert Vogelgesang sich und das Publikum mit dem Artensterben,…mehr
aus dem Buch: Hybridtheater
Gespräch über This Is Not a Game …
von Thomas Oberender und Arne Vogelgesang
Arne Vogelgesang recherchiert seit mehreren Jahren intensiv zu rechten Netz-Communitys, die sich auf digitalen Plattformen wie Reddit oder 8chan organisieren, austauschen und einen gemeinsamen Nenner in verschwörungstheoretischen, demokratiefeindlichen und misogynen Ideologien finden. Die Vernetzung und Politisierung von Gruppen wie den Reichsbürger*innen oder dem QAnon-Netzwerk hat die Grenzen des digitalen Raums längst verlassen und wirkt in die analoge Gegenwart zurück: Attentate,…mehr
aus dem Buch: Hybridtheater
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